Dalbavie: Flute Concerto Emmanuel Pahud By Marc-André Dalbavie – Orchestre philharmonique de Radio France, Transir for Flute & Chamber Orchestra. Check out Dalbavie: Flute Concertos by Emmanuel Pahud on Amazon Music. Stream ad-free or purchase CD’s and MP3s now on Like other high-profile wind players, Emmanuel Pahud has sought to compensate for the dearth of pre concertos by commissioning contemporaries.
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Related Posted on July 29, by 5: Then the soloist plays some G-D-A-whatevers, echoed by the open strings in the violins — ah, spectralism — at which fluye I ceased listening.
Dalbavie; Jarrell; Pintscher Flute Concertos
But there the similarities end. After it, Dalbavie’s unaffected warmth seems even more seductive than it otherwise might. A beautiful and rather moving piece, it shows Carter to be as bold and impressively thought-provoking as ever.
Carter seems content to leave ambiguous whether this kind of antagonism is malevolent or simply playful; either way, it makes little impact on the flute, apparently immune to all and any inroads from the orchestra, no matter how agitated they get. It really is insulting.
Proms 2011: Marc-André Dalbavie & Elliott Carter – Flute Concertos (UK Première)
It works because there are no half-measures: Add a Comment Click here to cancel reply. These three works provide a well balanced programme, and high standards of playing and recording combine to make this a release to be reckoned with. I previously encountered his work on a program split with Kurtag!! But each and every time, barely after a few notes have been uttered, the nascent melody is quashed and everything twirls off somewhere else.
There are positive aspects, insofar as the relationship between the flute and orchestra is sensitively handled, and the brief shadings of Honegger-esque harmony early on are nice.
About Patrons The Lists List of compositions fltue on 5: So I was dimly amused when the commentators on the Flute Concerto referred to audible similarities to previous works the only true statement they made. Rendered totally unable to fly, the flute ends up skittering around like a moth in an unpredictable wind, ultimately reduced to a demonstration of mere velocity and yet more spiralling scales and arpeggios that speak more of showing off than of virtuosity.
In fact, as the work unfolds, the quizzical nature between the one and the many takes on an ecstatic quality, the flute continuing its endless melody in a quasi-mystical manner, ever quieter and more tranquil. Gramophone’s expert reviews easier than ever before.
Sorry, your blog cannot share posts by email. Both eschew the contemporary practice of opting for descriptive names; the bald title Flute Concerto has connotations of its own, of course, but nonetheless suggests that concwrto programmatic content is not the order of the day. Posted on July 29, by 5: But there’s enough drama to keep the piece in focus, and Pahud’s way with its intricate flurries and withdrawn musings is mesmerisingly fastidious.
Despite first appearances, there are commonalities between the two works.
Proms Marc-André Dalbavie & Elliott Carter – Flute Concertos (UK Première) – |
There was also a large ensemble piece which was audibly a grab-bag of bits of Favourite Twentieth Century Classics a bit of the Ligeti Five Pieces flut, a bit of that there.
Jarrell risks over-indulging the defining features of his idiom – fast and febrile at foute extreme, quietly whispering at the other. Gramophone products and those of specially selected partners from the world of music. Otherwise, my eyes rolled upwards at the vaguely Herrmannesque opening. To that end, both also place greatest importance on the surface of the music, inviting the listener first and foremost to place their focus on its undulations.
Anonymous March 25, Thank you. I mean, really, how can this be?
Dalbavie seems intent on aiming the flute on a trajectory that seeks to reincarnate the Flight of glute Bumblebee. Twitter Tweets by 5against4. If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. The trumpet was not muted, and there were no balance problems.
Transir is the most radical of the three works in its addiction to fragmentation, brief expressionistic outbursts articulating what might be heard as an extended modernist mad scene. A bit like swearing at a monk, the rudeness proves itself impotent, and the relationship evolves into something rather uncanny.
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Skip to main content. Contact Submitting music to 5: And this drivel is being presented — by leading performers and institutions, some of whom must surely know better — as important work by a leading composer?